經歷了模仿賽尚、克利與甲骨文時期，中年的趙無極邁向了抽象繪畫之路，揚棄對具象造型的依賴，臻至八十年代，趙無極已不再拘於所學，虛空的藝術內涵主宰了畫面，到了隨心所欲的圓滿境地。                                      此時，具象手法已經無法直接反映趙氏豐富的情感，取而代之的，是人格特質的抒情意喻。趙氏曾親言繪畫形式與內涵的關係，如「…空間的輕盈、色彩的契合、形體在空間的爭逐，還有面與面的撞擊，是我內心的糾葛…」，在《9.7.86》作品中，技巧已化於無形，作品瀰漫了和諧景象，如星雲般凝聚移散；悠悠多變的深淺，提醒了物質與空間的存在。畫家鋪設的是無法預測、不知何往的浩蕩，乍看虛空的外象，卻如夢境般真實。      趙氏嚮往自然，自然在他而言，意味著非常廣闊的宇宙：「那重疊著錯綜複雜的空間，表現出大氣在流動，風在吹拂的感覺。」他將油彩幻化為一幅又一幅遼闊的視野，此時，人的存在已微乎極微，迎面而來的，是無限空曠的宇宙，沒有空間上下、沒有時間先後，是無重力、浩瀚無垠的太空。畫中唯一的暗示，是一道隱藏於霧中的無人幽境，描述了無限的悠遠，任人恣意遨遊。                                                                                                        趙無極的繪畫境界，誠如他所言：「畫一個眼睛看不見的空間，一個夢的空間，一個使人永遠感覺和諧的所在。」開闢了一個不受物象限制的永恆世界。

Going through the period of imitating Paul Cezanne, Paul Klee, and inscriptions on bones or tortoise shells, Zao Wouki of middle age had stridden forward toward the route of abstract painting, and discarded the dependence on concrete modeling. In 1980s, Zao Wouki had not been restricted by what he learned anymore. The peculiar artistic connotation of Chinese painting, “Taking the void to be the substance” had dominated the paintings to a satisfactory state of following his inclinations.                                                                                                                                                                                                                                                                  At this time, the concrete technique had already been unable to reflect Zaoʼs abundant emotions directly, and the lyric metaphor of features of character had replaced it. Zao has ever spoken of the relationship between the painting style and content personally, such as “the lightness of the space, the harmony of colors, the mutual chasing of shapes in the space, and the face-to-face crashing are of the entanglements of my heart” In the work “9.7.86”, the craftsmanship has become invisible, and the harmonious scenes fill the work, gathering and dispersing like the nebula; the carefree, leisurely, and changeful darkness and lightness remind the existence of substance and space. What the painter paved is the vastness that is immeasurable and that knows not where to go. The appearance that is hollow at first glance is as real as a dream.                                                              Zao yearns for the nature. For him the nature means the extraordinary extensive universe. “The intricately overlapping space exhibits the feelings of flowing air and stroking wind.” Magically, he changes the paint into the expansive field of vision one by one. At this time, the existence of human being is extremely trifling and minute. What greets us is the boundlessly vast universe without the differentiation of room and sequence of time; namely, an immense outer space of zero-gravity. The only hint in the painting is an unmanned seclusion that hides in the mist, describing the infinite remoteness that can let people travel at will.                                                Zao Woukiʼs realm of painting opens up an eternal world that is not limited by the physical phenomena, just as what he said, “To draw a space that is invisible by the eyes, a space of dream, and a place that makes people always feel the harmony.”